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Matthew Buick

Super 8 Opticals...

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Hi,

 

Does anyone know a reputable EFX Company where I can have some Super 8 Optical Work done, I willing to pay for someone like The Mill if it means I get a high quality effect, I mean with as little generational loss as possible.

 

Thanks, I know I'm pretty unpopular right now, and I'm sorry for that, but I am trying to improve myself (I've been very depressed recently, and it's that sort of depression where you can't really help yourself) but as long as people are blatanly attacking me it's making me feel even worse. :(

 

-Matthew Buick. :(

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Hi,

 

Does anyone know a reputable EFX Company where I can have some Super 8 Optical Work done, I willing to pay for someone like The Mill if it means I get a high quality effect, I mean with as little generational loss as possible.

 

Thanks, I know I'm pretty unpopular right now, and I'm sorry for that, but I am trying to improve myself (I've been very depressed recently, and it's that sort of depression where you can't really help yourself) but as long as people are blatanly attacking me it's making me feel even worse. :(

 

-Matthew Buick. :(

 

Hi,

 

Normally EFX optical work is done on 35mm. The Mill does not own any film optical equipment, however Pat Joseph the managing director was involved in film opticals 20 years ago.

 

Stephen

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Thank you, Steven. ;)

 

I think I heard about some company in Brazil, how good will their work be? Brazil doesn't appear to have any VFX prowess.

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Thank you, Steven. ;)

 

I think I heard about some company in Brazil, how good will their work be? Brazil doesn't appear to have any VFX prowess.

 

Hi,

 

I think the only person you will find with S8 optical equipment will be a hobby film maker.

 

Stephen

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What format will the finished project be shown in? There isn't such a thing as Super-8 print stock anyway, so if you're talking about projecting Super-8, more than likely it would involve projecting a spliced reversal original.

 

If you will be showing it in video, then you can add the effects to a telecine transfer of the Super-8 footage.

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The finished product WILL be shown in Super 8, and there is a Super 8 print stock, ANDEC cuts it down.

 

I'm going to double up two shots of the same path up the stairs in my home, one on Revue Superchrome, and one on Perutz Peruchrome, a the main character has been munching on magic mushrooms and he's making his rather haphazard way back upstairs to bed to attempt to sober up on a kilo of smack, so as I think you can understand he's in a bit of state, I'm going to multiple pass the same route and double it up on the final print, I just need someone to do the doubling up for me.

 

 

Thabks very much, David. ;)

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I mean with as little generational loss as possible.

 

Don't take offense to this but, you don't know too much about using an optical printer do you? It's a shame, I wish there was more information on the internet but there's gotta be a few more books you could look into. What I am getting at is, you'll get generational loss depending on what effect you're trying to achieve. You might not get it for what you are doing.

 

THere only super 8 optical printer is one that you'll have to make yourself or search on the internet and find a hobbyist to make one for you. I think if you found an FX house that actually had one it would cost as much or more than to just build one.

 

But, you want a double ghosting effect it sounds, so do you even need an optical printer? Buy a super 8 camera that you can rewind the film and just double exposure. There can be other in camera effects you can do. Or you can just digitally composite because optical printing is hard long work and you do have to run tests to make sure you get what you want - making it expensive. Personally, what I would do, is think what you have, think what you can do and also what you would like to do. Play to your strengths, play to the very limits and boundaries of super 8 and if you can't do something one way, well, there's about 5 other ways you can do it or something else.

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Yeah double exposuring would definately be the best way. Thats how speilberg did effects in his first feature film "firelight". He would get his sister to do the acting for one pass, rewind the film and then expose again with the red light that he was using as his alien. He would also shoot through jello on the second pass to get a look that he liked. What you are trying to do seems alot like that. IF your goign to telicine and edit non linear then just use computer effects but if you are film splicing and doing it old fashion double exposure is a good way.

 

Zamir Merali

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Right, I should probably be more consise. :)

 

I just want terrible double vision, I don't really mind how I do that, but I prefer the organic look of Opticals.

 

The reason I am using two separate film is because they both have different colour biases, I'm also open to the idea of shooting through Jelly, Filters and stuff.

 

For the normal psychadelic scenes I will use defunct Kodachrome (I'm looking for a 1988 vintage) the double vision scene is for when it all goes a bit pear mushroom shaped.

 

I also believe the K107 Printer is calibrated for Super 8.

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Hi,

 

Does anyone know a reputable EFX Company where I can have some Super 8 Optical Work done, I willing to pay for someone like The Mill if it means I get a high quality effect, I mean with as little generational loss as possible.

 

Thanks, I know I'm pretty unpopular right now, and I'm sorry for that, but I am trying to improve myself (I've been very depressed recently, and it's that sort of depression where you can't really help yourself) but as long as people are blatanly attacking me it's making me feel even worse. :(

 

-Matthew Buick. :(

 

hi Matthew!

the black and white film factory in canada make optics in super 8. if i remember well they do only in B&W.

treegan

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Hi Mathew,

If you want to get double exposures on super 8 look for those cartridge rewinders. They are often sold on ebay for twenty bucks or so.

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I just want terrible double vision, I don't really mind how I do that, but I prefer the organic look of Opticals.

 

There is no difference between double exposure in camera or optically. In camera might look better and it's far easier, think about it for a second. You shoot, you rewind, you shoot again vs. shoot, prcoess, set up the optical printer/pay money for it, etc. etc.

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Matthew, being 15 is the very definition of being depressed all the time, but here's a little something to cheer ya up. I posted this before in the super8 section but it bears repeating here as well:

 

http://www.city-net.com/~fodder/s8mm/optprint.html

 

Even if I could make it I wouldn't know how to operate it. :(

 

Oh, Douglas Trumbull...come here boy...good doggy...now PRINT!!!! :D

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Kid, try doing a little research. You've got the entire library of the world at your fingertips. Read, Boy, Read!!! Get off this site every once in a while and do some studying.

 

On another note, Why are you worried about creating opticals right now, you haven't even submitted a short for critique. Why not do some simple 2 person, 3 to 5 minute short to learn how to tell a story visually THEN worry about how to inject VFX into a later project when you're more famillure with how you actually go about making a film. You said you wanted to tell a story with Lego men, DO THAT, let us see it and give you some advice THEN make StarWars or Bladerunner or junkies trying to climb stairs in two places at once (By the way, if the guy shot up a kilo of smack, he'd chill out all right, he'd be the coldest corpse at the morgue). Don't you think that would make more sense at this point of your expirence level? B)

Edited by James Steven Beverly

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Well, it's actually a very simple idea featuring only one character and lasting about 5mins tops, that's the only technical problem I've had.

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Well that's good to hear. Maybe you could find a way to get the idea across without a big technical hassel or the expence of doing an optical. What if you rapidly intercut the 2 locations increasing the speed till it becomes a blur then cut to black or jump cut to the next scene or moment in the sequence. If that doesn't work for you, try and think of something else. If nothing else, it would be a good execise in creative thinking and filmmaking problem sovling. Give it a try, see what you come up with. B)

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Well, I'm going to shot two crazy reversals, differing the path slightly on each (thus creating terrible double vision).

 

However it gets done, I just want these two films sandwiched together.

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Well, I'm going to shot two crazy reversals, differing the path slightly on each (thus creating terrible double vision).

 

However it gets done, I just want these two films sandwiched together.

Something like a periscope on the camera might work.

 

The mirror over the lens would be 50/50 beamsplitter.

you would get two slightly different angles of the same scene on top of each other.

 

The outer mirror could be moved during filming to jiggle one of images.

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